Pavan Deep

I think there are a few places in the USA that will transfer the wider Super 8 frame, but I haven't come across any facility here in England with a high end transfer machine that is able to transfer the wider frame. I wanted things a little easier for myself and for others so I have built a frame by frame scanner and use it with a machine vision camera, with it I have transferred a lot of films that I had originally had transferred on a Rank and the quality is absolutely brilliant often better than the Rank transfers. You can see some stuff here, http://www.vimeo.com/12793339 . I'll be putting up more samples soon, especially of negative Super 8 film, as I have desgined my scanner specifically for transferring negative film. P

I have being giving lectures about working with Super 8 and have covered everything from cameras, lighting, editing and sound recording. I am sharing them by putting them on my website www.lightbreeze.co.uk . P

I need to fix a problem that I’ve created; I made a small modification to the camera’s gate, I took it out [unthinkable I know] and widened it across the left hand side so that I can capture a wider frame. When I placed the gate back in I've managed to loosen the little metal guides that sit in the gate when the gate is in the camera. These metal guides are normally held in position with a springy tension - this tension has now gone, so I’m assume has the spring. I am worried that this will now affect the steadiness of the images, in the past this camera has produced some of the shapest and steadiest Super 8 images. This problem has happened before many years ago with this camera, and then I was told it was simple problem to fix. Any ideas on how to fix this? P

I use Super 8 film alot and have done many interviews. None of my cameras are cystal synced and I usually film at 18 frames per second, I think 24 fps can be better in some situations, especially when filming action and a lot of movement, otherwise I don't think there's much difference especially when shooting dialogue, I'm sure many will disagree. I mark every shot at the beginning and at the end so there's an accurate reference when syncing up in the NLE. I use a mini disc to record the sound and then import it into the computer as a WAV file which I import in Adobe and merge with the AVI [visuals]. The camera noise isn't too bad when filming outdoors and indoors I try and keep the camera as far away as I can from the microphone. I have used cheap tie mics and now use a Rode NTG 1 which is a very good directional microhphone and as long as it isn't pointed near the camera it doesn't pick up the camera noise. Here's a clip of a short I did a while ago it was shot in one continous take at 18fps, and the camera was not crystal controlled, recvording and the syncing up was not too difficult, I'll be putting up new clips soon; SLATE your shot at the beginning (and/or at the end if possible) so you have a reference for the start point http://www.vimeo.com/3175593 P

Thanks I must point out that the link I attached on dismantling the camera is not mine, someone else has done that, but I agree it is very, very helpful. Yes I widened my Canon's gate without taking it out [shock horror], for this I secured the camera high on a sturdy shelf with the lens facing the ceiling, I opened the back door and pointed a light [which was on the floor] onto the gate so I could see the gate clearly and began filing [ it took a while] all the debri just dropped on the floor and everywhere except in the camera. It is impossible for any debri to fall onto the lens in the camera as on the otherside of the gate there is a small compartment where the shutter is blocking the lens [when the camera is switched off], I did have a very small camera mini vacuum/SensorVac to help keep the camera clean, photgraphic stores have these. I remember seeing a Canon 1014 and I'm pretty sure the gate was metal like the 814, though I'm certain that the later XLS [sound cameras] versions do have plastic gates. A plastic gate might be easier, my Bauer has a plastic gate I used a surgical blade and just shaved the gate out the blade made a very smooth cut, it was much easier. For filing the gate I used a very small file 3-5mm wide, when I had finished I deburred, by deburring [i may be using the word incorrectly] I mean I smoothed out any rough edges that I created as I filed out. For this smoothing out I used the tip of a screwdriver and brushed it along along the edges. P

Hi I have the Canon 814 and have just widened its gate, I am assuming the 1014 is simialr. My Canon has a metal gate and the film compartment door is at the back of the camera making the access to the gate very difficult.. I decided not to take the gate out to avoid any other problems, as I widened the gate of my Bauer A512, [where film compartment door is also at the back of the camera and access to it is difficult], but for the A512 I took the gate out to widen it, in doing so I disturbed the little metal guides/feathers that are in the camera but wedged in the gate, I didn't want this to happen with this camera. I placed the camera upwards so that when filing the debri would fall downwards on the floor, lille if any debri fell in the camera, I'm pretty that this didn't fall on the lens or any other important element within the camera. I used a very small file to widen, after I widened it I deburred the edges, the actual widening was not difficult at all. The great thing is that I've discovered that unlike most Super 8 cameras widening the viewfinder mask on this camera is easier too, I'm assuming the 1014 is similar so framing is a lot easier and more importantly I can now see when the camera starts to vignette and can avoid this. I used the useful information from http://canon-s8-repair.yolasite.com/ to open the camera and access the viewfinder. P

Has anyone got the repair manual for the Bauer A512, or where I could get one from? Thanks P

This is great stuf, great composition, I love the colours there's something magical about them. The 100D is indeed a very fine grain and sharp film, I'm going to try some soon P

I have a Bauer A512 and S715XL, they're my favorite two cameras the A512 is my particular favorite which I've had since 1994. I think it has an excellent lens and I've never had a cartridge jam or jitter in it. I prefer the A512 more than my Nizo 6080. It's asa is limited to 40 and 160 but I have used the 200T in auto exposure mode, switched the filter switch to the sun setting when I filmed with it outdoors and everything came out perfectly, I have even used the new100d using in manual exposure and it was prettyusimple. P

I am not aware of Regular 8mm viewers, it'll be interesting to see one, but I know of the Hanimex Moviemat and Liesegang Mobil-e [they're identical], both are for Super 8 only. They are little battery operated projector, can only take 50 spools, can only ruin at 18fps and have an ntergrated screen. P

I've attached an image of my set up, although it is compact and desinged to transfer small 50 foot rolls of both Super 8 and old 8mm film I have extension arms for larger reels. I am currently using a Mightex USB 2.0 colour camera, which I believe has a CMOS 1/2 inch Chip, I am using the camera with a 50mm Schneider Componon enlarger lens which is fitted via an adaptor to c mount tubes. As a Super 8 frame is stopped in the gate a micro switch triggers the camera to capture a frame and saves it as a bitmap in 1024x768 resolution, which I then import into Adobe Premiere and convert into a movie sequence. I have used bits from several cameras and projectors to build this unit, including a Bauer 500XLM, an Agfa Family camera and projector and a portable Hanimex Moveimat projector. I have used a low wattage diffused white LED and have paid particular attention to the gate and how the film is transported and stopped, minimizing the contact the film has with the mechanism to reduce and eliminate scratches. I have also built an integral cleaning unit of velvet pads and blowers. A link to some Super 8 I transferred a while ago http://www.vimeo.com/12793339 . P

Impressive! I have built a telecine scanner for Super 8, dust is a big problem with Super 8. I use velvet pads that gently brush the film along the path and have used two a simple blowers which blow away the dust. So far this has given me dust free transfers. Have you got any pictures of your scanner/setup? Thanks Pav

Hi Thanks. Youur right I am using unit lens a Schneider Krueznach Componon 50mm enlarger lens, which is fitted to an unusual looking adaptor [which looks like another lens lens] that screws onto the C Mount extension tubes. I have built extension arms so that I can use larger reels which works well, but I find it's a lot more compact and easier to use 50 foot reels. Now that the machine is working perfectly I am beginning to experiment with Avisynth, it's quite complex. P

Here's the picture.

I have been working on a frame by frame telecine machine for sometime now. Originally I used an ordinary dual projector, linked to a machine vision camera. The set up worked great, but it was still a conventional projector which had all the usual issues that projectors have. In my experience projectors are rough on film, I was constantly cleaning the projector so I decided to build a new telecine machine which isn't based on adapting a projector. Here's what it looks like with the top cover off [i hope the image is visible]. I have used bits from several cameras and projectors to build this unit including a Bauer 500XLM, an Agfa Family camera and projector and a portable Hanimex Moveimat projector. I have used a low wattage diffused white LED and have paid particular attention to the gate and how the film is stopped, reducing the contact the film has with the mechanism thus eliminating scratches. I have also built an integral cleaning unit. P

What version of Premiere are you using? What format of film are you using? I use an older version Premiere Pro 1.5 and often convert negative to positive using kodak Super 8 and Super 16 film and the quality is very good. I know the newer versions of Premiere have a filter called cineon which is supposed to be good for color correcting, but I haven't tried this feature. If you are wanting a positive image from the negative film then after you invert you must open the levels in effects and reduce the blue and you might have to inrease the red and green you have to pl;ay around. Pav

Thanks for all the positive comments. I have had a lot of success getting people to use Super 8 to create their projects. Many of these people have never used film or Super 8 before and have been impressed with the end results. Since a lot of people are unsure of how good frame by frame transfers can be I have decided to offer transfers at an increadibly low cost. There's a lot of hard work getting the best out of Super 8 and I have realised the main drawback of the frame by frame system is that of time - transfers take a long time, but so far time has not been a problem. I am also redesigning my system developing a new a film transport unit from scratch to replace the projector as I have become aware of certain limitations of using my projectors. I will be putting more samples on my website soon. P

Thanks, I do miss K40, though I think the new 100D looks amazing, I just hope it runs through cameras smoothly. For me the problem of the 64T was it's heavy grain, which I later discovered can be treated, but then there was the jittery and somewhat unstable images. P

I have just uploaded a sample clip; I had a short film of mine converted via a frame by frame system; http://www.vimeo.com/3175593, it was after this that I decided to build me own system. P

I have used Super 8 for many years, and I am am always keen to promote Super 8 as a serious viable format for story - telling, which I believe it is. I have started to offer Super 8 telecine service, using the frame by frame method with a modified projector and a machine vision camera. It all started as a bit of fun, but since there aren't many transfer options here in the UK some of my friends and even their friends have been sending me their newly processed films to transfer to digital. Currently I am transferring in Standard Definition Pal both 4.3 and 16.9. I can easily transfer films shot with a wide gate and can transfer negative Super 8 film with ease. I can get really good results, I will put some samples online soon when I update my site. A lot of people say they have difficulty telling the difference between my transfers and 'Rank' transfers. Many people have warned me that there's not a lot of money to be made in Super 8 transfers and have kind of deterred me. I am not doing this for money as I charge very little, I am doing this as I am passionate Super 8 and with all my years of experience I really want more people, especially young people to use Super 8 here in England. P

Hi I haven't blimped my camera, though sometimes I have covered it up with a towel, especially when filming in dialogue small rooms. I have realised that a good directional microphone placed well away from the camera and pointed near the action/dialogue works wonders at eliminating camera noise, I use a Rode NTG-1 shotgun microphone, it doesn't pick up the camera noise at all. I have used the 'the so called quiet' Nizo 6080 and the noisy Bauer A512 P

It might be silly, but I want to know if it's possible to change the speed of the Canon 814 XL electronic from 18 fps to 24fps or even 25fps. I think the only drawback with this camera seems to be that it hasn't got 24 fps. I have read up on this camera and it was Canon's successor to the Canon 814 Autozoom Electronic with some modifications to the lens, XL shutter and has some extra facilities, but for some reason the 24 fps speed was dropped. I used to have a Bauer C500XLM which only ran at single frame 18 fps and 36 fps, [i know it's a completely different camera] but I was able to get inside it and change the speed internally by turning a little'Potentiometer'. So every time I switched the camera to 18 fps it would run at 24 fps instead. I determind the 24 fps speed by pointing the camera at a CRT television and looked through the gate until the strobing became smooth [not an exact method of determing speed]. The footage from the camera was smooth when I'd watch it on the projector at 24 fps and each 50 feet of film would run for the usual time about two and a half minutes. I have been wondering if I could do something similar with this Canon camera. Has anyone tried this, or even opened this camera which looks very complicated? Has anyone got a repair manual for this camera or does anyone know how to open it? Thanks P

Of course I'm glad it worked too, I thanked somebody for just replying. I know it sounds silly, but I think it's horrible when you've posted something and no one replies. It's happened to me so many times. P